{"id":21090,"date":"2020-06-05T16:00:00","date_gmt":"2020-06-05T20:00:00","guid":{"rendered":"https:\/\/panm360.com\/?post_type=interviews&p=21090"},"modified":"2020-06-06T11:49:13","modified_gmt":"2020-06-06T15:49:13","slug":"camille-delean-une-question-dequilibre","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/camille-delean-une-question-dequilibre\/","title":{"rendered":"Camille Del\u00e9an: A question of balance"},"content":{"rendered":"\n

Photo: Nathalie Del\u00e9an<\/em><\/p>\n\n\n\n

During her travels between Toronto, Paris, London and Montreal, Camille Del\u00e9an always believed that she would never find an anchor point.<\/p>\n\n\n\n

\u201cWhen I arrived in Quebec, I didn’t know anyone. In my mind, my stay in Montreal was temporary. I was starting from scratch. I stayed longer than I expected. But it took me a few years to surround myself with people I liked. Finally, I met Michael Feuerstack [a multi-instrumentalist who had worked on the first album with Del\u00e9an and British musician Ben Walker<\/em>]. He helped me finish Music on the Grey Mile<\/em>. We\u2019re now friends. Thanks to him, I managed to meet other artists in Quebec.\u201d<\/p>\n\n\n\n

Thus, the second album was conceived with a little more stability. By the singer’s own admission, she knew more about what she was looking for as a sound for Cold House Burning<\/em>. <\/p>\n\n\n\n

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Photo: Nathalie Del\u00e9an<\/em><\/figcaption><\/figure>\n\n\n\n

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On the other hand, she could count on her fellow singer Feuerstack, who invested himself even further into this new folk album, giving it a dose of rock. In addition to playing many instruments for the songs, he also took on the production. Most of the recordings were made at Breakglass Studios.<\/p>\n\n\n\n

\u201cI wanted the drums to be heavier, but the instrumentation to be more [refined] and sleeker. I also wanted to explore the backing vocals more. I wanted more than just vocal harmonies; I wanted to make them an important part of some songs. I used only necessary instruments. It was important to me that they felt like they were close to the microphone, like my voice.\u201d  <\/p>\n\n\n\n

In addition to Feuerstack, Jeremy Gara (drums, piano), Mathieu Charbonneau (piano, synthesizer), Philippe Charbonneau (voice, synthesizer), Joshua Zubot (violin) and Adam Kinner (saxophone) also collaborated on the pieces, which are more refined than those of the previous offering, released in 2017. And Del\u00e9an’s voice flows, imperturbable, like a beautiful, tranquil river.  <\/p>\n\n\n\n

Earthquake danger zone<\/strong><\/strong><\/h3>\n\n\n\n

On the album, her voice is anchored in confidence, soft and very close. It’s as if the young woman reveals a part of herself, intimately, without hesitation. And yet she has had doubts over the years. A lot of them. And this opus with a touch of lyricism is precisely the artistic testament to a serious search for balance, both physical and emotional. <\/p>\n\n\n\n

That said, even if Camille refers to earthquakes to evoke the atmosphere of her work, this one reveals maturity more than fragility. <\/p>\n\n\n\n

During our telephone interview in times of pandemic, she recounted how her intimate story permeates all the material on her record. \u201cFault Line (Late July)\u201d, in particular, is the epicentre song of the album, according to her. \u201cTread lightly! Think steady \/ Watch your jogging around the lines \/ Or you’re going down\u201d, she sings.<\/p>\n\n\n\n

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